To Charles Marie Widor

THK ART
OF
IMPROVISATION
A handbook of principles and methods for organists,
pianists, teachers and all who desire to develop extempore playing*,
based upon melodic approach.

by
T. CARL WHITMER
 by 3VE. V^ITIVT^VIR.K: & SONS
ID 3Ex>rrro3sr
by IVI. AAmriVI^.R.K: &^ S01STS

TJ. S.
 FOREWORD
taken for granted usually that improvisation is of use only to the professional
It is

organist. Nothing, is further from the case. The real situation is this:

Improvisation is but the natural bubbling over of instinctive musical creation and
is a talent that lies dormant in nearly every music student. It is not dependent upon

great technic nor upon great musical learning. It is just something that comes from
one's fingers awkwardly or fluently. It comes out of high or low, educated or uned-
ucated just as poetry gushes forth from the Welsh bards. Just average people made
most of our folk poems and folk songs. It came out without knowing how it came out.
Of course, contemporary education demands that one carry a thing beyond this sub-
conscious stage.

Now, while thisnew book carries the subject into the complex needs of the concert
organist the far greater part of the work is exactly adapted to "people of no pretence"
in knowledge or keyboard technic or musical experience. An amateur can use it for
the shortest of ditties and can expand as wished, the design of the book being as flex-
ible as talents differ one from another.

In conclusion, it may be well to compare briefly the study of improvisation' and com-

position as usually understood.

In the first, ideas are "tickled" out of one at once upon contact with the keys; while,
with the second, ideas have been left largely in the background until basic knowledge
is pretty complete. Emotion is immediately stirred in the one while intellectual train-

ing, much stressed in composition, keeps the feelings under control.

Originality is expected and tested not so. much in the one as in the other.

Mind and fingers act together in improvisation while the composer is nearly pure
mind doing his work at leisure, in place of "off the reel."

Some fluency of simple expression is expected at once in the one while that fluency

may be worked out gradually by the one who puts his ideas on music paper. However,
fluency in both is usually a matter of practice.
And
as a final suggestion to students this work can be used as a method in musical

composition classes for causing the hesitant student to pass more easily into the doing.
There always a wrench in going from pure theory to practice. This Art of Improvi-
is

sation will open the way towards freeing the musical spirit.

THE AUTHOR
T. Carl Whitmer is the author of several books, as well as of innumerable essays on musical subjects. He
is known, also, as a composer of much choral and instrumental music, notably of -his Six Symbolic Dramas.
Now of New York, Mr. Whitmer was for many years an organist, choir director and teacher of organ,
composition and improvisation in Pittsburgh.

M.W.&Sons 19521-75
2.50
t>y 3Vt. WTITOVLAcJaiC: & SONS
SO1STS

XT. S.
 FOREWORD
taken for granted usually that improvisation is of use only to the professional
It is

organist. Nothing. is further from the case. The real situation is this:

Improvisation is but the natural bubbling over of instinctive musical creation and
is a talent that lies dormant in nearly every music student. It is not dependent upon

great technic nor upon great musical learning. It is just something that comes from
one's fingers awkwardly or fluently. It comes out of high or low, educated or uned-
ucated just as poetry gushes forth from the Welsh bards. Just average people made
most of our folk poems and folk songs. It came out without knowing how it came out.
Of course, contemporary education demands that one carry a thing beyond this sub-
conscious stage.

Now, while this new book carries the subject into the complex needs of the concert
organist the far greater part of the work is exactly adapted to "people of no pretence"
in knowledge or keyboard technic or musical experience. An amateur can use it for
the shortest of ditties and can expand as wished, the design of the book being as flex-
ible as talents differ one from another.

In conclusion, it may be well to compare briefly the study of improvisation and com-

position as usually understood.

In the first, ideas are "tickled" out of one at once upon contact with the keys; while,
with the second, ideas have been left largely in the background until basic knowledge
is pretty complete. Emotion is immediately stirred in the one while intellectual train-

ing, much stressed in composition, keeps the feelings under control.

Originality is expected and tested not so. much in the one as in the other.

Mind and fingers act together in improvisation while the composer is nearly pure
mind doing his work at leisure, in place of "off the reel."

Some fluency of simple expression is expected at once in the one while that fluency
may be worked out gradually by the one who puts his ideas on music paper. However,
fluency in both is usually a matter of practice.
And
as a final suggestion to students this work can be used as a method in musical

composition classes for causing the hesitant student to pass more easily into the doing.
There always a wrench in going from pure theory to practice.. This Art of Improvi-
is

sation will open the way towards freeing the musical spirit.

THE AUTHOR
T. Carl Whitmer the author of several books, as well as of innumerable essays on musical subjects.
is He
is known, also, as a composer of much choral and instrumental music, notably
of 'his Six Symbolic Dramas.

of New York, Mr. Whitmer was for many years an organist, choir director and teacher of organ,
Now
composition and improvisation in Pittsburgh.

M.W.&Sons 19521-75
7.50
 PREFACE
musical person can learn to improvise, provided he allow time each and every
Any
day to build and fully establish fluency.
There no great secret about it; and, with the exception of concert improvisation,
is

no great basis of theoretical knowledge is demanded.

As to great technical (mechanical) basis, that

not at all a prerequisite except
is

in improvisation of the higher forms. Just as there are very charming pieces in the

early grades, so there may be very adequate and delightful pieces built up extempore
in very simple guise.
Of course, a book such as this certainly is not a "breviary for idlers?" but, a com-
petent and patient worker will nevertheless achieve great inner sense of mental satis-
faction which will seem like sport by becoming a "composer for the moment."

Recently I was telling a country boy who occasionally plays the guitar for me
of this work for "pianists and .organists'! He said, wouldn't it be equally good for
gui-
tarists. I said, "Why, of course. Why didn't I think of that'.' So, let us disregard the
words "for organists" and rather think of it as written for everybody who plays.

Guilmant wrote: "Organists, who are solicitous for the dignity of the art of their
instrument must most methodically work at improvisation and develop themselves in
the many different musical forms.

All such studies must be made very slowly: it is the only way to play well and im-
provise happily."
The early writers of technical handbooks liked to call them by some highly stilted
name like "Gradus ad Parnassum". But, do we not know that many at the ripe
age of
seventeen or twenty-two feel that they already are on Parnassus, that it no longer is

necessary to lead them there!

Nevertheless, I have worked this book out as a Gradus, in the old sense,
and quite fully believe it will lead even a musical sophomore to at least some farther
temple in case he really is on the mount.

The author has consulted all available works in several

languages and believes that this
is the only work that illustrates nearly
every point in progress by means of one motif. given
The use of many differing motifs has been a stumbling block to the explaining of the
art of "unfoldment". One can illustrate most anything if one has the world's most careful-
ly chosen subject. But the rub consists
in illustrating the point when one has a probable
worst subject, as often falls to the lot of
improvisers.

hope that this work will lead many good musicians to make yet finer and
It is my
more far-reaching use of their powers. I believe that it forms an
adequate basis for the
development of those of little talent as well as for those who may be rich in genius and
worthy successors to the Great Masters of the Art of Improvisation.

M.W. & Sons 19521-75

 PART ONE
THE CHURCH ORGANIST
CHAPTER I

GENERAL BASIC PRINCIPLES

(Read this chapter. Later, come back to it for restudy.)

The chief principle underlying an easy and fluent improvisation is the exhaustive study
of the melodic, rhythmic and structural aspects and possibilities of a fractional part such
as one or two measures of the basic melodic theme selected.

Every thematic bit of improvisation must be conceived of as a short musical idea which
must be adhered to and extended until ithas run its course. An unfolding -structure first
and last will be the ideal.
The harmonic aspects must be disregarded until all other generating of effects has
been accomplished. In other words, a short rhythmic-melodic entity must become a long-
er entity by expansion. This is your problem.

Invariably think of this basic melody as put together with other melodies in very def-
inite and clear voice-parts. This is the beginning of wisdom.

Always consider that the basic theme- normal and inverted- has hundreds of facets,
.
if one but turn them to varying lights and effects.
Never consider the given tonality of the theme as final, i.e. as a settled thing. Rather,
consider it as possibly existing in six or seven keys.

All improvisation is relatively easy if one has studied the endless possible shapes
and migrations of a given melody.

Regard the basic notes as a spider might its web:

a) as spinning- how long;

b) as design how built.

differences between playing a set printed phrase and expanding one extempore
The
are essentially different psychological processes. The first is reproductive, while the
second is generative resulting in budding, flowering, unfolding or expansion.
In the reproductive, the player functions more as mechanism. In unfolding an idea
he is "like unto a god, with power to create good and evil"

Usually puzzles the student, who likely has studied Harmony, first of all to learn
it

that harmonizations, as he knows them, are the least important of his efforts. The most im-
portant of his efforts are listed under the heads of counterpoint (polyphony) and structure,

Contrapuntal combinations are not only limitless, but the process gives a forward move-
ment, without having the finality or static character of harmonizations.
Harmonies, as devices, are fewer in number and- as stated- more static in tendency.
The chord plan has a fixity of purpose that is sure to stop one before one is well started.
Also, chord progressions are hedged about by rules that will make the student too con-
scious of right and wrong, instead of inculcating the necessary feeling of forging ahead.

M.W. & Sons 19521-75

 If the improviser "gets stuck" (his favorite word!) it is because
he sees his theme as
a finished and complete entity. Harmonizing usually produces or assists in producing
this result. The idea, on the contrary, must always be kept in a state of flux.

Copy on music paper and place on piano the given melody for improvisation without
any harmony attached to it. Later, omit clefs.
The process of extempore playing is synthetic, but a preliminary analysis plays a
big role in developing one's spinning power.
One must geton intimate terms little by little with the form and style of all the
different sorts of structures such as Two and Three Part Form, Minuet, Sonata Form,etc.

In conclusion of these generalizations I would say that the theme material must be ex-
hausted by mental processes before one's emotions can be set into action.

Also, in improvisation, when one has made a note mistake, or rhythmic or harmonic
error do not correct it. Rather, make use of it, repeating that "error" in the following
phrases. In other words, incorporate the error and it becomes part of the pattern or scheme
itself. When skill is attained all will merge very naturally with the plan. An error may
be only an unintentioned Tightness; good, but not what "you meant to do'!
Do not get too fussy about how every part of the "thing" sounds. Go ahead. All pro-
cesses are at first awkward and clumsy and "funny" Polishing is not at all the im-
portant thing; instead, strive for a rough go-ahead energy. Do not be afraid of being
wrong; just be afraid of being uninteresting.
Italways is difficult to remember what one has improvised in order that the part may
be repeated in essence, (as in Song Form, etc.). That, too, becomes easy. It is not necessary
to remember all details, but it is necessary to recall plan and method and general character.

In general, there are two ways to improvise. The first is by expansion and the other is
by the use of a set form. Whenever in doubt use some set form, but experiment with ex-
pansion until you get this one thought deep down: In expansion the form is generated.
It makes itself, in other words.

Whereas, in the classical sort of mold, the player first decides on a form such as A-B-A
and then proceeds more or less mechanically (until he gets his stride) to build each sub-
ject; which is perhaps a shorter and less concentrated and therefore easier way to get
the sense of achievement. However, there need be very little of too regulating a theory
but there is an immense amount of the doing in the most direct of ways.
I am usually" asked about technic; i.e. the muscular ability to
play. A technic includ-
ing the third grade is usually presupposed. But, it is not essential to a work on Impro-
visation to expect one person's muscular agility to be the same as another's.
The way to improvise is to improvise. Use the technic at hand, much or little; slow
or fast. If scales are weak, or perchance arpeggios^ consult a "method" or a teacher. But,
every improviser will practice some technical exercises daily if he expects his playing
smoothness and ease to increase. But, pieces of great charm may be written or impro-
vised in the early grades: witness Bach's so-called Anna Magdalena's Clavecin Book.
Rafael Joseffy's Piano Technic will give excellent training to the fingers. Or, the
exhaustive Alberto Jonas' work can help on any and every matter that can possibly a-
rise in connection with refractory digits.

There is a charming lithograph, by Odile Redon,of a 'part of a part' of a tree out-

side a window. May we not be happy, also, in fragmentary ideas
occasionally in impro-
visation. Every composer has a few sketches that no one would part with.
Surely not
every thing we build has to be monumental and the last word on the subject.

M.W. & Sons 19521-75

 CHAPTER II

PRELIMINARY STUDIES FOR A GIVEN THEME

Play slowly, at different registers, alternating hands, the following sequences based upon the first
two measures of Sir Henry Gauntlett's Hymn, "University College?

Theme fragment:

i
Sequences above

Sequences below
!

r r
N j r
etc.

Sequences in minor above

etc.

Sequences in minor below

etc.

Sequences contrary motion (passing notes) above

r j ^
\u etc.

Sequences contrary motion minor above

etc.

Sequences contrary motion below major

etc.

Sequences contrary motion below minor

etc.

Sequences based upon theme without signature

etc. (also below)

M.W. & Sons 19521-75

 Sequences based upon signature of two sharps
etc. (also below)

Sequences based upon signature of three sharps

*

Sequences as above in
^ 3/4 time
etc. (also below)

m I
p "! I

way s
:" r i * j r r =====
'
etc * * n al * a^ ve

II
Sequences based upon second measure

^^ S
^ i etc. (also below)

In minor

^
Contrary motion
i ^ S etc. (also below)

* i= etc. (also below)

etc. (also below)

^
?r J
^ S etc. (also below)

4
^ ^ g etc. (also below)

*
f ^i etc. (also below)

*U if

P i etc. (also below)

M.W. & Sons 19521-75

 Ill

Sequences based on both measures

and

throughout the whole previous series.

IV
Reverse the measures

etc. throughout series. Include now passing

and auxilliary notes.

v
Reverse the notes

r ir r JJ i
etc.

VI
Alter intervals and rhythm:-
F
etc.

VII
Add a bass- voice to all the preceding sequences, such as:

etc.,

making slight variations in bass voice and adding passing notes etc.

VIII
Place also in 3/4 time:
Slow Fast ^
etc. or etc.

M.W. & Sons 19521-75

 CHAPTER III

THE PHRASE
at this late date of the world to hold innocent looking phrases for
It may seem unnecessary tip

jxamination, but it is doubtful whether players generally give "creative thought" to it. Ultimately,
in a work
ve should play as we speak English- without too much analysis of our vehicle. But,
ike this for many types of experience, a restudy of the phrase is essential.

Note the following phrases, all based on our theme:

Two measure

Three measure

Four measure

Five measure

Six measure

Seven measure

a) Place a simple bass part to all the above;

b) Play backwards to see effect.

A phrase may be any length whatever. But, once used, it must be well adhered to as to its scheme.

In the last movement of Beethoven's first piano Sonata we have (in the middle
part) a ten measure
phrase that is interesting in its "purposeful movement? Compare it with the theme. In the
opening
last analysis the only
really to learn things
way is to go to the sources. B.ach and Beethoven are
the great musical sources.

Ri.W. & Sons 19521-75

 The Thesis and Antithesis
A good way to discover the consequent, or answer, to a phrase is to play the question (thesis) of
a phrase in some piece new to you. Then, put in your own answer, comparing it
immediately with
that given by the composer. It is a very practical way to get the feeling of forward movement that
a good, complete phrase possesses.

A hhrase is yotir essential unit.

>
phrase questions, using our now almost too familiar theme.

IS ANTITHESIS

* *

3 Alto part to above;

B Alto and Tenor parts to above,-
JOJ IS3fl63tf
lit
e Bass, Alto and Tenor parts to above.
(XouoSy)
OL f of the phrase, "Homophonic Forms of
examine the chapters on same in

irmer) by Percy Goetschius. The given musical examples are numer-

M.W. & Sons 19521-75

 CHAPTER III

THE PHRASE
It may seem unnecessary at this late date of the world to hold up innocent looking phrases for
examination, but doubtful whether players generally give "creative thought" to it. Ultimately,
it is

ve should play as we speak English- without too much analysis of our vehicle. But, in a work
ike this for many types of experience, a restudy of the phrase is essential.

Note the following phrases, all based on our theme:

Two measure

Three measure

Four measure

Five measure

Seven measure

a) Place a simple bass part to all the

above;
b) Play backwards to see effect.

A phrase may be any length whatever. But, once used, it must be well adhered to as to its scheme.
In the last movement of Beethoven's first
piano Sonata we have (in the middle part) a ten measure
phrase that is interesting in its -purposeful movement?
Compare it with the opening theme In the
last analysis the
only way really to learn things is to go to the sources. Bach and Beethoven are
the great musical sources. *

M.W. & Sons 19521-75

 The Thesis and Antithesis
A good way to discover the consequent, or answer, to a phrase is to play the question (thesis) of
a phrase in some piece new to you. Then, put in your own answer, comparing it
immediately with
that given by the composer. It is a very practical way to get the feeling of forward movement that
a good, complete phrase possesses.

A phrase is your essential unit.

Here follow some answers to phrase questions, using our now almost too familiar theme.

THESIS ANTITHESIS

rj

a) Place simple Alto part to above;

b) Place simple Alto and Tenor parts to above;
c) Place simple Bass, Alto and Tenor parts to above.

For more extended study of the phrase, examine the chapters on same in "Homophonic Forms of
Musical Composition" (Schirmer) by Percy Goetschius. The given musical examples are numer-
ous and valuable.

M.W. & Sons 19521-75

 Cadences

As part of the phrase, when harmonized, we have cadences, or endings, with the following usual
and chief classification:
-

Authentic Plagal Half Interrupted

D SD D to relative minor, or
chord other than the Tonic.

Two general types of endings are those which

a) close on an accent; b) those which close off the accent.

a) Masculine

[See Chopin's Polonaise in A

for typical case of b)]

M.W. & Sons 19521-75

 CHAPTER IV

THE CODA
A Coda is, first, the addition to a phrase or theme of any number of measures, extend-
ed to keep away abruptness and stiffness and four squareness. This is the first considera-
tion when flexibility of form is considered.

The second and greatest use of a Coda is a summing up of material, just as a speaker
does at the end of a speech.

Study the Beethoven Codas and one's Coda -education is complete. For example, Codas
to Opus 2, No. I, Adagio; Opus 13, I; and Opus 81, I.
A Coda, then, is anything from a brief extension to a full resume and a development.
The bigger the thought and form, the more important the Coda.

M.W. & Sons 19521-75

10

CHAPTER V
TIME MARKS

Not so many seem to understand the real significance of our very simple time signatures.
'folks'
4
/4 time, for example, means not only four counts to a measure, but two accents. The accent is the
essential thing*

So, lining up the usual time marks, we have:

Note: Beat these out as upon a drum many times until distinctions are very evident.

*For further study of rhythm and accents see Music to the Listening Ear by Will Earhart (Witmark).

M.W. & Sons 19521-75

 11

CHAPTER VI
MODULATION
(HARMONIC AND MELODIC)

Most everyone, during his musical studies more or less "at" modulation; which as
life,

every man knows, is the process of changing easily and smoothly from one key to another.
However, I rise to say that modulation which brings the keys closer together may bring,
and usually does force the actual ideas or themes further apart unless the essential the-
matic core preserved. This core
is is the rhythmic and contour essence of the theme one
modulates to or from.

Our chief plan should not be to unify keys but to unify themes, or ideas. One will re-

call that the old style accompanist (and recitalist, too, for that matter) attempted to bring
his pieces into closely related tonalities and succeeded admirably (as my experience goes)
in "disconcerting" and divorcing the themes.

At any rate, anybody who even a very mild modern knows that the new music re-
is

cognizes all keys as equidistant. So that, if modulation be attempted in

new music he,
the accompanist, is doing the worst thing in the long list of bad things. New music
simply doesn't go from one key to another in conventional fashion.

But, since few perhaps have reached that blessed state, the many will have to con-
tinue to make studies in modulation based on some textbook of Harmony. After which and
during which they will examine the transitions from key to key in the B-eethoven Sonatas.

M.W. & Sons 19521-75

12

Essentials of Formal Modulation

a) A note in common between two chords will help to swing most modulations:

Ex.

b) Enharmonic modulation:

F to Fjt

i
Ex. nif soberly
j J U.

if t 1

c) The old augmented sixth chord:

F to A

Ex.

^ *

M.W. &Sons 19521-75

 13

d) The dominant seventh chord method, such as one hears in vocal studios:

F to Al>

Ufg
J U>J
11 j
W

e) Note the way an altered chord assists; albeit, too chromatic to be highly musical.
Rather second-rate:

FJt to Bt minor not in a hurry,

Ex.

only.

1) A good rule, no matter which of the above ways is used, is: Select your note or chord
and swing on it like a monkey on a tree!

2) Never be in a hurry to modulate.

Abruptly jump to new key rather than feel rushed.

3) A modulation must be based in all cases upon a motif taken from piece or part before,
or piece or part after.

M.W.& Sons' 19521-75

14

Exercises:

Modulate from F minor to D

F minor to G
F minor to A
F major to F#
Fj| to D
F# - to G
F# - to At

using our theme as in early sequences.

Modulate from At to C At to E
At to D At to B
At to Fjt At to G
%
using theme of Beethoven's Sonata Op. 26, first movement.

Modulate always with some expression, con amore!

Melodic Modulation

Harmonic modulation is not the only kind. The melodic type is even more useful for our pur-

pose. The notes may be conceived as harmonic by suggestion.

a)

b)

Examine Beethoven's Presto con fuoco, Opus 31, No, 3.

Notice that, although figure is used continuously, there is no monotony.

Examine Beethoven's Opus 81, I first page.

M.W. & Sons 19521-75

 15

Modulation from the given motif (in F) to the anthem "Author of Life Divine" (in E) by
Eric Thiman (M. Witmark & Sons).

Slowly

^K- - Slower than before

j J
pNfe j

[Theme anthem]
j j
^
^^ ^CT ^ ^

[Anthem]

M.W. & Sons 19521-75

16

Let us modulate from

suppose it is a festival Sunday and more brilliance
Or, is desirable.

the same motif to Handel's Hallelujah Chorus.

Con moto

j
J*

4, 8, 16
- Sw.
iJ
W
Heavy Fed.
3

i j j j i=
end
rr ,
-O
,

"77
^i

[Go to Chorus]

M.W, & Sons 19521

 CHAPTER VII

THE PLAY ELEMENT

An example below will give an easy illustration of the so-called play element most necessary
in music, but rarely talked about. The play element is that which lightens and aerates the other-
wise thick and soggy harmonic scheme. The most serious composers use it and the dullest do
not. [See Franck's Prelude, Chorale and
Fugue for a serious example of a very serious compos-
er, using the device as part of the scheme]. Too great a solidity is petrifaction. You think of
bread and get stone!

Now, to our example: Handel's Song, Where'er Ye Walk. On a plain chord basis it would be:-

tx
m *tm
etc.

P^ +*-

But, with the play element as style factor note the extra interest and buoyant style:

i
m
P
So, one finds that style is very often the man, and that style must be studied as Harmony or
Counterpoint is studied.

The play element carried on as Chopin has carried becomes ornamentation or elaboration. But,
it

with lesser lights, that kind is not always musical or musically necessary and may sound old-fashioned.

Now, look at Beethoven's Opus 53, (I) the Waldstein and see the 'levitation' produced by repetition
of the chord and arpeggios. Play them as solids and you will understand the yeast of music. Do not

'high-hat the lightening or easing up factors. They contribute to motion

and emotion.

Notice also in "Moonlight" Sonata (III) the emotional force of the broken chords in opening theme
and the contrast of the later used solid chords.

M.W. & Sons 19521-75

 CHAPTER VIII

TRANSPOSITION
Upto this point no mention has been made of transposition. This, of course, is a very necessary
time the basic theme, using
phase of our work, but may be postponed for a few weeks. After that
the many suggested sequences, should be studied in keys higher and lower by intervals increasing
to a fifth. Seconds, thirds and fifths are particularly useful intervals in practice.
The American Guild of Organists requires transposition for its Fellowship degree below and above
to only a third. But, for concert improvisation, it is better to include all intervals up to and includ-
ing a fifth above and below.
First, transpose our hymn 'by ear' or instinct or in any usual way. 1) Up one degree; 2) down one
degree. Observe where sticking points are.
Second, see how notes look with different clefs, the notes on same lines, just to see the use of
these clefs as transposing agents. Or, think of
these notes for Clarinet as written in A, in Bt;
French Horn in F and other keys; Trumpet in F
and other keys.
Alto clef

Tenor clef
^
a seventh below

a ninth below
J

Soprano clef a third below

a)

Bass clef a thirteenth below

e;

Now, third, transpose the melody only of the usual two measures, getting the 'high points' in
relation to tonic and dominant.

One degree up:

3 P m
and so on through keys of B, C#, Ek, E,- after which, transpose:

a) one degree down f) perfect fourth up

b) minor third up For advanced g) down
c) down improvisers fifth up
d) major third up i)
" down
'

e) down
A. Transpose one melody daily.
B. hymn-tune daily.
C. short, easy piano piece daily,
first at one interval, then at another.

M.W. & Sons 19521-75

 19
CHAPTER IX
FREE IMITATION
Perhaps Imitation, as used in inventions, is the most important one thing to study and make
oneself an adept in:

l) A very
easy lead into the subject of imitation is through the Anna Magdalena Bach Clavecin
Book, written by Bach for his second wife. Play the whole bookful!
I quote now from the Menuet. Note the exact imitation and then the free.

Menuet
Moderate cantab He

fJft Pr
cresc

M
^ -^

i ^
i ^
^ i

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20

Next, play two or three of the two part Inventions of Bach (one in C, one in
2) F, one in a minor).
After which continue in writing the following start based upon our given theme:

etc. to eight
measures

3) Write out this Invention first and then 4) improvise one.

In Bach's Toccata in D minor (not the organ work, but the Clavecin piece) the theme is developed
very much as an improviser would do it.
This example will form a pretty complete education in imitation. It is here quoted in part. Note
the way it sticks to the idea given out in the first two measures, the variety of registers, and the
balancing of motion up by motion downwards.

Toccata in D minor
Play slowly first, then with gayety.

"! vaw
V
r fV

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i I9 KjM
1
ii j

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22

CHAPTER X
TWO PART CANON
The student's canons will not sound interesting for many moons, but the making of one short can-

on a day written one day and improvised another day will bring about the concentration neces -
in writing, the few 'starts' of canons here suggested
sarj to even elementary improvisation. Finish,
before doing them extempore.

Moderate

etc.

Slowly

etc.

[if an organist, supply an easy sustained Pedal part to above.]

Gaily

etc.

^ j j i
i_

etc.

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 23

Staccato

i
PP etc.

etc.

etc.

Canons may be at any interval. For example, here is one at the seventh below, with free parts,
from one of the writer's short organ works:

(Excerpt from the development)

*M )

etc.
if
i
j ^

(Pedal)

For further study of canons, if desired, see Bach's 30 Goldberg Variations, most of them canons
at many different intervals. The free parts are models of their type. Violinists and pianists may

care to study the Franck Violin and Piano Sonata, last movement.

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24

CHAPTER XI
FACTORS IN GETTING VARIETY
No matter how will not "get across" unless one
interesting ideas (themes) are, they
has variety in the following:

- staccato
1) legato
2) dynamics ppp -
jff - sfz

3) variety of register (study the Bach quotation from the Toccata)

4) speed
5) rhythms;
strict time - rubato

6) pedaling- damper, sostenuto, sustaining, or no pedal at all. Or, on organ, use

and non-use of pedal
7) solid chords - broken chords

8) scale work -
arpeggios
9) cadences
limited tonality -
10) many keys

Note to organists:

Restudy the "assets" of your instruments. Its resources are greater

than you think

1) Take all Diapasons alone and together

" Reeds
Strings
Flutes

2) Then, take each of the above and couple with every other quality, and so on
through the organ.

Then, re-examine the effect of all 4, 8, 16 and 32 foot couplers on each and ev-
3)

ery quality of tone possessed by the organ.

The above restudy nearly always produces a fifty per cent increase in new
effects.

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CHAPTER XII

EMBELLISHMENTS

The player will make a close study of all the currently used embellishments. Then,
when he feels the need of putting in turns and trills etc. let him think twice before do-
ing it. These devices rarely are needed. They never take the place of a good theme and
scheme, and never deceive the ear for a moment. It is only a little musical "finger wave?

A small music dictionary will serve as a perfectly adequate basis. The Nieek's dic-
tionary has excellent material and explanations.

The embellishments in the Beethoven Sonatas, as edited by von Biilow, will cover all

but archaic symbols. The author believes that notation and explanation in a piece of
music is better than "three in the bush" of words!

But, again, use embellishments sparingly and always con amore. They otherwise
are just foolish and indicate "inf lation? In the eighteenth century there was an em-
bellishment epidemic.

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26

CHAPTER XIII

IMPROVISATION IN ACCOMPANYING

To the writer, songs never should have improvised connecting links. Their arrange-
ment should be so contrasted and dove -tailed that all other music is superfluous. [See
in Schumann's "Papillons" the juxtaposition of tonalities without bridge making.]
*

However, not all players feel this way. So, a brief statement of the case is that the
accompanist can make the following use of improvisation:

1) To provide transitions from one piece to another when key changes to him
are sudden;

2) To quiet a more or less socially inclined audience at the beginning of groups.

Concerning the the good practice always is to use a motif from the just
first point
finished song, making a simple modulation out of it at a different register. A slight
weaving of a motif from the new song tnay be used effectively. After which- a slight
pause. Concerning the second point use either the motif from the song to come or the
simplest kind of chords/ Preferably the latter. But, again, a- pause.

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CHAPTER XIV
WORKS TO ANALYSE

It is ofthe highest importance to "go on a tour" of much music which will offer the
improviser fertile and generative methods. Play slowly such works and "listen" with your
mind, heart and ear. Ask some such questions as these:

Where does the register of the melody lie?

What is it's thick- throughness, or transparence?
Where are the inversions of the theme used?

Is there any augmentation or diminution?

Homophonic or polyphonic?

Fofm rigid or flexible?

Are there different subjects or does all proceed from a single germ with
subject contrast?
What is the nature of the second subject?
Of the episodes and transitions?
Nature and number of cadences?

Styles of accompaniment?

One cannot get a good "method" without consultation of hundreds of plans.

Music suggested for daily reference will be something like the following for best
efficiency:
Beethoven's Thirty -Two Piano Sonatas
Bach's English Suites
Bach's Choral - Preludes
Bach's Well -Tempered Clavichord
Brahms' Sonata in F minor

Or, for violinists, the Brahms' Three Violin Sonatas

Franck's Violin and Piano Sonata.

For organists,
Franck's Three Chorales
Widor's Symphonies, at least V& VI
Handel's Organ Concertos
(very usable extempore playing technique. Built largely the way
an improviser thinks).
//

I am confident that it will be of considerable aid to illustrate the way I use these
works by a few analyses from the standpoint of stimulating ideas.

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28

Examine the following Beethoven Piano Sonatas for style:

Op. 31, No. 3, Allegretto vivace. Note staccato left hand.

Op. 53, I, for staccato chord effect. Economical upbuilding at end:- Rondo for

playful arpeggio figure.

Op. 57, II, theme Note same chords as broken up in the varia-
for chord usage.
tions. Last movement, note figure of Rondo made out of arpeggio and scale, a fine gen-

erating scheme. Only four different types of chord used. Closeness of texture
and mar-
velous* growth of idea, especially in I.

Op. 106, for thesis of subject in chords, with antithesis in three parts and ex-
I,

tended. Construction very original. Scherzo of same has three styles, very difficult to
manage.
*

Op. 109, 1- lyric theme alternating with recitative.

Ill- Variation V
has polyphonic treatment with fine staccato and legato effects.

Op. 110, I, good example Sonata- form without a second subject. Fugue is inter-

rupted by a lyric passage, after which inversion is used.

Op. Ill, Arietta and Variations have new and interesting and skillfully merged rhythms.

JohnHollidays "Jack- in -the Green" (Schirmer) has a "neat" presentation

C. of

melody in bass and then used as top. Note how easy, yet it "sounds?
For another example of melody first alone and then harmonized, see MacDowells'
Indian Suite.

Grieg s Album- Leaf, Op. 28, No. 3, is a good example of monotonous rhythm made
un-monotonous by change in harmony, position, and style.

Samuel Rousseau's Double Theme for Organ gives fine theme treatment suitable
for folk song basis.

Chopin's Ballade, Op. 38.

Lovely simplicity of theme.
Note development of idea, which is highly organized,
without becoming too "mental?

Chopin's Fantasie, Op. 49.

Note variety of style in composition, style in piano technic.

Notice- as one proceeds- l) octaves, 2) solidity, 3) octaves, 4) solidity, 5) obvious

melody with staccato chords, 6) arpeggios and scales, 7) broken chord accompaniment,
8) melody in double notes etc., etc.

The surface texture is a very vital part of every composition. Great example, this.

Bach's 48! Talk about a style show!

*See also Music to the Listening Ear, by Will Earhart, page 146 (Witmark)

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For Toccata models, see Widors Fifth Dubois' in G and Mulefs"Tu

Symphony,
es Petrus?

Handel's March from Occasional Oratorio is fine easy March model. The first
movement gives ideal Overture design.

Rheinberger's Sonata over Eighth Tone gives simple treatment of Gregorian

Theme. The fugue is beautiful example of combining of fugue subject and theme from
first movement.

Franck's Three Chorales for Organ and Symphony in D

minor will reveal his
special gift of expansion of one theme into the large unit. Franck never uses a useless
figure. All is germane. Always, always, always related. That is also the cue to one's
best work in improvisation.

Paul Hindemith's Tanzstiicke No. 1 will provide the modernist with a usable
scheme. Note how JT3 j provide three pages of merry going. Several of the other ex-
amples also give delightful "splutterfuss" over nothing in particular.

Consult also "Paeans" (No. l) by Rudhyar ("New Music"),- New England Sonata (The
"Alcott" movement) by Charles E. Ives (privately printed) which contains both a Beeth-
oven motive and a Scotch hymn.

See also Ravel's Ballet "Daphnis" from "Daphnis and Chloe"(Durand et Cie.); Milhaud's
"Laranjeiras" (Max Eschig et Cie.); Mortimer Wilsons "Silhouettes from the Screen"
(Composers' Music Corporation); Arnold Schoenbergs "Six Little Pieces" Opus 19. (Uni-
versal Edition); Jacque Ibert's "La cage de crystal"; Moussorgsky's "Pictures at an Ex -
hibition"; Zatacwitsch's "Chant des Kazak", Part 13; Stcherbatcheffs "Choeur Danse";
Shostakovich's "Preludes", Nos. 3 &4.

Note:
The text of this work applied to the needs of the modern dance accompanist
maybe
by first developing the theme as given on Page 3 to secure the working technique/Then,
by taking a given motif from a modern or ancient dance theme and spin into set or e-
volving forms (see Page 37). Third, by becoming familiar with the structures and types
of dance music used by choreographers and improvising within those structures and types.
A similar method may be of distinct advantage to pianists and organists who "ply their
trade" in radio studios.

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CHAPTER XV
HOMOPHONIC IMPROVISATION
and
FUN
In order to become a good extempore player it occasionally is necessary to have a good
time by improvising unseriously some easy types.

melodic (polyphonic) work has been used, for the reasons already
1

Up to this part only

given, and also because a harmony is most far reaching when it results largely from the
continued use of parts, best thought being horizontal rather than vertical.

Books Folk Songs, with the melody only given, -form a special stimulus. I suggest
of
Slavic or Hungarian, German or French- or Indian- makes a good starting point or

ending place, for that matter.

In this freer, more homophonic and of less mental nature (after the mind is tired of
the spinning and weaving processes) use "hunks" of themes instead of expansion of mel-
odies. In this type set the form rather arbitrarily in advance and then allow it to vary as
one goes on, if inspiration so guide.

SOMETHING ABOUT HARMONY

The basis of chords (Harmony) is the harmonic series:-

2 3 4 5 6 l! 8 9 10

Find out how many of the usual chords may be made out of, say, the first nine or ten
notes. Some of the newer chords are based upon the upper harmonics.

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Most desirous improvisors will have heard of certain

prohibitions in harmony such as con-
secutive octaves and fifths. But, that means when
only the pattern or scheme is of the older
type. Whenever one thinks in four part harmony (which belongs to one must have
counterpoint)
a care to avoid these parallels.

But, suppose one's scheme is based on parallel fifths or parallel octaves like the example from
the writer's Choral Triptych* then it would be incorrect not to have the fifths and octaves.

Very slowly portando

God laughed from ver -

y depths of love Ah!.

portando
PP

J-VF-
_ laughed from ver -
y depths of love. Ah!

portando

God_ laughed from ver

-
y depths of

Very slowly

* & owners of the copyright.

Reproduced here by permission of C.C. Birchard Co.,

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32

Now, proceed to the free improvisations with different styles to select from. Complete the fol-
lowing 'starts'.
First, take an accompaniment in the R. H. made out of our well worn theme, with the melody
following in L. H.
As, 1)

r^rrfrrrffr i
ff vigorously
i

i s i
etc.

l)
Arpeggio style, melody included.

I
etc.

[Make three more types.]

3) A
specially fine way to get stimulus, to get juice out of nothing, is to put some spicy, pungent
rhythm in front of you, following its rhythmic and structural lead until your own ideas come, that
seem your very own.
For example, base piece upon MacDowell's "Wild Rose" plan. Use same series of notes:- aEj-^-p- etc.

[Also, base piece upon Chopin's Preludes Nos. 7 & 2Q, and upon his Nocturne i

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4) Also, make six free harmonizations of the Gatmtlett hymn, somewhat as follows:

1) etc.

^5r
non legato

2) f legato etc.

J
at i J J

F
j

3) etc.

Pedal r

4) etc.

Heavy Pedal

etc.
5)

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 Melody inverted

etc.

5) Choose types of accompaniment for homophonic style, as below

and also this same exercise in various keys with four flats, two and three sharps, using the usual
seven notes. -

6) Now, get gay once in a while and make up a Hornpipe, a la Edward German (Four English Dances).

ffast continue

(Ancient Hornpipe was in triple time.) Build one over Purcell's Hornpipe.

7) Next, try a Waltz, an old. time Cake Walk, a Jazz trifle on either some subject or.no sub-
ject whatever. Getting 'hot air' out of one's system is to keep repressions out and expression in.
[See the Hindemith work referred to in Section XIV.]

Marcel Proust says: "Like those expressive themes composed by musicians of

genius which paint
in splendid colors the glow of fire, the rush of water, the peace of fields and woods, to audiences
who, having first let their eyes run over the program, have their imaginations trained in the
right direction?

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These fine words give the reason for a player's

using a title in case inspiration gives a
good one. So, here are some subjects suggested to get the student started:

2nd Subject
Winter _ .1st Subject ^

low register medium high "register

Spring high medium low
Juggler- very high very low
Love sonorous throughout

Hate strident and high strident and low

Sunrise etc., etc., with a new subject each day.

The problems of register are stressed because so little attention is

paid to it. Analyse well the
interesting shifting of position in the great writers. [See Schumann's Fantasie, Opus 17, for stir-
ring examples.]

SPECIAL HARMONIZATIONS
Make short studies in improvising pieces

a) using minor chords only;

b) using major chords only;
c) using seventh (dominant and secondary) chords only;
d) using combinations of the above.

8) A and easily schemed effect in accompaniment may be modelled after "The Sleigh"* a
favorite

song by Richard Kountz, in some such manner:-

Allegro molto
M.
t

l i ^ *
etc.

K K ~ ~ ~
j /
Aj / S *f K *f n */
$&n
, ,

i .
/ J>r /
k

7> ,

aaLp
) i
*LP
}
:
^ti= '
f/i ffji

r r r r r r r r

^Reproduced here by permission of G. Schirmer, Inc., owners of the copyright.

M.W. & Sons 19521-75

 CHAPTER XVI
PLANNED THOUGHT
The beginning and end of the work of a skillful improviser- as every reader will see

by this time- is planned thought; blueprints of action.

It is difficult to tell the point at which thought merges into emotion, and emotion
into thought. There is no definite line of demarcation. So, it behooves the player to

feel all he can and to think "till it hurts?

Some one defined a genius as one whose emotions and intelligence function equally
and synchronously. Bearing this in mind, the student will develop himself all-roundedly.

A
good practical rule is: To train the intelligence to take consideration of all possi-
ble phases of a theme and the emotions will take care of themselves.

In other words, before any person have magic he must have a digested plan or pre-
conceived design. The mind plans. The emotions give urge.

A thing may be mathematically fit, but emotionally spineless- or, the reverse. But,
urge and surge are below and beyond the intellect. So, thought plus feeling form a per-
fect working team, cooperating always.

Always keep in the foreground of your mind the following:- For the first few months
do all the "laboratory work" on each selected theme before improvisation is done in ex-
tenso.

Also, all extemporisers of the first rank keep a procedure in readiness to take the place
of a doubtfully present inspiration.

Inspiration is not always so accommodating as one wishes. It doesn't sit on one's

shoulder ready to descend like a dove. So, as earlier suggested, a planned and mental-
ly fit blueprint is used. This often leads to fresh ideas coming forward; and, always, at
any rate prevents stupidity when "juice" fails to flow.

After the student has made all the studies for, and has fully extemporised upon"our"
set tune he should follow some such plan:-

1) Select a tune,-

2) Study possibilities of the first two or three measures in all the indicated ways (un-
til the tune has completely soaked in);

Reharmonize the hymn or tune in the ways indicated and also put eighth note mo-
3)

tion in Alto, then in Tenor, then in Bass;

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4) Play whole
melody backwards, making the rhythm interesting at "dead" spots and
then harmonize in two ways with this "crab" inversion;

5) Treat whole tune in: a) minor, if in major;

b) major, if in minor.

6) Study with Pedal. Points at top and bottom;

7) Make short theme out of the tune, using free accompaniment;

8) Make second theme out of new, unused measures; then, return to first theme;

9^ Make a March, Sarabande, Toccata out of same basic idea, taking (as earlier sug-
gested) a typical model.

10) As one daily exercise use imitation in rotating parts, moving the "two against one"
or "three against one" from one voice to another. That
place against the, largely, quar-
is,

ter notes of the melody eighth notes in the other voices. ["Two to one" "Three to one"
a term used in
Counterpoint to indicate number of notes in the counterpoint, or
etc. is

secondary melody, against the Cantus Firmus, or chief melody.]

The aboye plan is a good working design for every chosen theme.

Each week the student will make a thorough study of one new form, analysing and play-
ing and improvising in that form. The study of, say, the Beethoven Minuets and Scherzos
will reveal unsuspected variations in design which will open up new vistas of ideas.

Perhaps the order best for the elementary student in tackling forms (letting A or B or
C each represent a theme) is to build:-
a) Piece based on just one subject, as A (See Chopin's Prelude, No. 7);

b) Piece based on A, B Chopin's Prelude, No. 20);

c) Piece based on A-B-A Coda (MacDowell's To A Wild Rose);

d) Piece based on A-B-A-C-D-C-A-B-A (Beethoven's Minuet, Op. 2 No. I) [From this

point on, Concert Extemporisation];

e) Pieces based on Rondos (Efeethoven has about six varieties);

f) Pieces based on Sonata Form.

After these homophonic forms have been well assimilated the polyphonic forms will
be carried on as in Chapters 20, 21 and 22.

Evolving forms also should be used- especially in church service extemporisation. An

evolving form is a form which is. complete after a predecided plan of development is worked
out. As a rule, there is but one short motif developed, but that is only when the piece is

short, or of medium length. A form that is not a set form is complete and satisfactory
when its material has been evolved to the utmost of a simple clarity.

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CHAPTER XVII

THE ORGANIST
and the
CHURCH SERVICE

All the preceding pages will of course hold good for any kind of an improviser, what-
ever his job. But, to be of special use to the organist in church playing a few more par-

agraphs will help.

Keep on organ console during service the notes of the theme chosen for
First essential:
the day, written out with or without bars and clefs in single notes. Nothing else on sheet.
Theme to be chosen, of course, from hymn or anthem or chant or organ work. Prefer-
ably from hymn or anthem.

As his one great contribution to the church service the organist has a double function:

a) to unify the various parts of, the service; and

b) to render the atmosphere more penetrating, unfolding the moods which should be
dominant for the day. In other words, one theme, one mood.

Theorganist should apply all suggested methods of study to the melodies in the music
of the following Sunday. Only then can he "let loose" and give radiance to his work.

Improvisation will not spontaneously come to one, any more than an organist can play
at sight in public Widor's Tenth Symphony and make it mean
anything emotionally.

Every organist should study a Bach Choral -Prelude each week, playing it twice and
then each voice alone and with every other voice. Do Jhis as long as you are an organ-
ist and ideas will come fast; so fast and
strong that they may force you to write down
your ideas.

At any rate, it is the radiance of the player that counts in his immortality.

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CHAPTER XVIII
GREGORIAN MUSIC
This subject is approached with feelings almost of misgiving arising from the fact that the
field is so vast, the procedure so widely at variance with the handling of modern tonalities,
the literature so incredibly rich and the metier so far removed from that type of emotional ex-
pression whicli modern tonality has been built up to voice. Whatever can be put into a book of
this kind can be offered only as suggestive. In other words, modal and liturgical music is a
complete subject, a subject almost entirely separate from music as we understand it today, and
one that should be studied under proper tutelage. There, are worthy and adequate teachers and
schools for this purpose approved by the acknowledged repository of Gregorian music, namely,
the Roman Catholic Church. For the subject of modal harmonization, the student is referred to
"Mediaeval Modes" by Dr. A. Madeley Richardson (Gray). For a concise and -practical handbook on
Gregorian music in all its phases, the student is referred to "The Complete Method of Gregorian
Chant" by Dom Gregory Sunol. As a source book of the musical literature, the "Liber Usualis"
see P. 44 (procurable from J. Fischer & Bro., New York) is probably the most practical compilation.

However, (and bearing in mind the foregoing qualifications), some direction of the student's at-
tention toward the music itself is important here. The following will serve to illustrate the eight
ecclesiastical modes in Gregorian notation with corresponding modern notation. The finals and
dominants of each mode are indicated in one case by open neums, in the other by open notes the
final, of course, being the lower indicated note.

The Ecclesiastical Modes

NEUM NOTATION MODERN NOTATION

MODE I
Dorian (Authentic)

MODE II

Hypodorian (Plagal)
*

MODE III

Phrygian (Authentic)

B * J O

MODE IV
Hypophrygian (Plagal)

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:0
MODE V
Lydian (Authentic)

MODE VI
Hypolydian (Plagal)

m O

MODE VII
Mixolydian (Authentic)

-^ cr

MODE VIII
Hypomixolydian (Plagal)

y
Tote the similarity in note sequence between the Dorian (Mode I) and the Hypomixolydian (Mode VIII). The differences in the Finals and Domi-
tants are responsible for the marked difference in character.

Of particular importance in reading Gregorian notation is the clef, two varieties of which are
ised: the C Clef and the F Clef *C Both of these clefs are movable for convenience in notation
.

similar to our movable C clef ||

of today). The pitch of the Gregorian C and F is respectively

append eight examples, one in each of the eight modes, using in each case a Kyrie Eleison in
I
oth Gregorian and modern notation. Observe that the modern notation gives actual sounds for the
irst four, the remaining four are transposed to the octave, in the G clef- a style which prevails
n modernized editions of Gregorian music. Following these melodies are three authorized har-
lonizations of the first sentence from the first Kyrie.

FIRST MODE (Kyrie Eleison IV- In Festis Duplicibus I)

1.

lit J&: -
i + &-
Ky-ri-e e - - le - i - son etc. Chr i-st e e - le-i-son etc.

2.
SECOND MODE (Kyrie Eleison- Cantus ad libitum III)

- - - i - son Chri- ste -

Ky-ri-e e le ett. e - le - i - son etc.

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 41

THIRD MODE (Kyrie Eleison- II- In Festis Solemnibus I)

3.

I I

- ri - e
Ky e - le - i - son etc.

Chri e - le - i - son etc.

4.
FOURTH MODE (Kyrie Eleison- III- In Festis Soiemnibus II)

Ky - ri-e e-le- i-son etc. Chri- ste e-le-i -son etc.

5.
FIFTH MODE (Kyrie Eleison VIII- In Festis Duplicibus V)

Ky-ri-e e - - le- i-son Chri-ste e - - le-i-son etc.

SIXTH MODE (Kyrie Eleison- XVII- In Dominicis Adventus et Quadragesimae)

6.

Ky-ri-e e - - le - i - son Chri- ste e - - le - i - son etc.

7.
SEVENTH MODE (Kyrie Eleison- VI- In Festis Duplicibus III)

'
. i T a . t .A
f f Tit..a lit.;
Ky-ri-e e - - le-i-son Chri-ste e - - le - i-son etc.

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 42
EIGHTH MODE (Kyrie Eleison-I- Tempore Paschali)

P.' X. Mathias .

X> Kyrie Eleison IV Ex "Organum Comitans ad Kyriale

seu Ordinarium Missae"

Rev. L. Manzetti
I) Kyrie Eleison IV Ex "Organum Comitans ad Kyriale
seu Ordinarium Missae"

By permission of J. Fischer & Bro,, owner of the copyright

Julius Bas
I) Kyrie Eleison IV Ex "Organum Comitans ad Kyriale
seu Ordinarium Missae"

Copyright 1921 by Desclee et Socii, Tournai, Belgium

The two fallowing quotations will serve to illustrate a freer style in Gregorian melodic structure.

PANGE LINGUA (In Festo Corporis Christi;

3. (Third Mode)

Pan - ge lin - gua glo - ri - 6 - si Cor - po - ris mys - te - ri -

um, San - gui-nis - que pre - ti -' 6 -
si,

i=^ -m -

Quern in mun- di pre - ti - um Fru- ctus ven-tris ge - ne - ro - si Rex ef - fii - dit gen
- ti - um.

*
J '
-I k
^m
Note divergence of rhythmic pointing in each version.

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AVE MARIA (Festa Octobris 7) (in II Vesperis)
1. (First Mode)

A-ve Ma-ri -
a, gra-ti- a pie -na: Do-mi-nuste-cum: be-ne-di-cta tu in mu-li - e - ri-btis.

I k I I f1 I
I k I i I I I I k I . 1

Studies in Mode Extemporization

The writer believes the following points are the essentials to be kept in mind by the impro-
viser:-

1) That the purity of each mode is a necessary basis to a strongly defined character;

2) Mixing of the modes is, of course, a neutralizing of effect and a weakening of individual
mode character. If desirable however, do it as simply and unobtrusively as possible, plan-
ning the effect in advance;
3) In harmonizations (homophonic), use only simple triads and first inversions of the same,
all

using the seventh, ninth, eleventh and thirteenth as passing and auxiliary notes and not
as essential parts of the chfird;

4) Always keep in mind the essentially melodic character of all the traditional "tunes? Thus one
can construct a piece strictly polyphonically, with the various melodies synchronously pro-
ducing harmony that will usually be in keeping, provided one has Mozart's idea of a good
"ear, eye and heart";

5) The modes lie in the location of the half steps, plus the nature of
essential differences in the
the finals and dominants, which latter make such a great difference between the opulent
church modes and the limiting major and minor scales;

6) Modes may be transposed to any desired pitch, but the relationships must always be preserved.
For example the Dorian (First Mode) is based on D. Based on C, the scale becomes c-d-et-f-g-a-bt-C;

7) The dominants are the reciting notes of the chant. They dominate. The finals are notes
for endings;

8) To the organist harmonizing, the finals suggest the chord endings. Note that the finals of

each pair of modes are the same, while the dominants differ;

9) B and Bb are almost equally ancient usage;

10) As stated by Father Rossini of St. Paul's Cathedral, Pittsburgh, Pa., "each of the Gregorian

melodies in use in the Catholic Liturgy is built from beginning to end upon a single scale
or mode which has been preferred by the composer to the other seven as the better suited to
the development of his piece the composer some-
express the meaning of the text. During
times might have invaded the field belonging to a "relative" scale or mode, but never e-
nough so as to change the original modality of the piece?-

of any harmony, there is nothing that may

11) Also, "in Gregorian Chant, because of the absence
be compared with what .we call modulation. There are only some sorts of cadences or co-
return passage to the beginning of
das, at the end of some Gregorian pieces by which the
the same piece is made easier for the singer in case the chant should be repeated?

With the foregoing thought stresses the improviser may proceed to the studies, keeping in mind
that in the purity and simplicity of the treatment of the modes lies strength.

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Procedure
1) First make a complete study of the general principles laid down in the preceding chap-
ters;

2) Second, study a given "modal" theme in the manner developed in these earlier chap-
ters;

3) For excellent simple material upon which to base studies in the beginning, I would sug-
gest the "St. Gregory Hymnal" especially Nos. 221, 265 (line 1), 267 (at the words "Patrem
omnipoteiitem"-), 200*? (the old Arcadelt tune. See Liszt's arrangement for piano),
233? ,

234 (notice harmonies. It is according to the Vatican Edition of the Antiphonale), 269 and
216;

4) Now, build upon each of these hyms and chants 6, then 7, 8, 12 and 16 measure phrases,
keeping the idea of deriving closely all ideas from the motif chosen from each hymn or
chant; after facility is established in the above, we may proceed to the motifs in the o-
riginal type of staff, clefs and notes. Any authorized book of the kind will do, particu-
larly the Liber Usualis previously referred to;

5) Build upon each of the Kyrie melodies quoted, first, short extensions of the chosen notes;
then drawn out, extended and developed polyphonically, to three minutes, five minutes
and ten minutes in length so as to suit every purpose. Finally create out of them specif-
ic works in free style, as a Toccata, Marche Pontificale, Canon, etc., as suggested in the

previous sections. Examine closely the variety of contours in these ancient melodies
and follow suit!

BIBLIOGRAPHY

1) The Complete Method of Gregorian Chant Dom Gregory Sunol. (Desclee & Co.,Tournai);
2) The Mediaeval Modes- A. Madelcy Richardson (Gray);
3) A brief article on "Gregorian Accompaniment" by Frederick W. Goodrich
(American Organist- June, 1933);
4) Counterpoint Charles W. Pearce (for rules on progressions);
5) The St. Gregory Hymnal- Nicola Montani (St. Gregory Guild, Philadelphia);
6) Dorian Prelude, for
organ Br'uce Symonds (Oxford University Press);
?) Concerto Gregoriano- Ottorino Respighi;
8) Three Preludes based on Gregorian Themes Respighi (Universal Edition);
9) Ninth (Gothic) and Tenth (Romane) Symphonies for Organ Widor (Hamelle Edition);
10) The Art of Accompanying Plain Chant- Max Springer (J. Fischer & Bro.);
11) A New School of Gregorian Chant- Rev. Dom Johner, 0. S.B. (Pustet);
12) Liber Usualis- Desclee, ho. 801
13) Organum Comitans ad Kyriale seu Ordinarium Missae- F. X. Mathias (Pustet);
14) Organum Comitans ad Kyriale seu Ordinarium Missae- L. Manzetti (J. Fischer & Bro.);
15) Organum Comitans ad Kyriale seu Ordinarium Missae- Julius Bas (Desclee et Socii).

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PART TWO
CHAPTER XIX
CONCERT IMPROVISATION

Da Vinci said: "Without good and solid theory one can do little in the 'hazards' of paint-
ing"- which applies to all the Arts.

PREAMBLE
Since nearly all the early pianists and organists were also composers, and since music
did not circulate widely, men made their own music. Sometimes it was for the moment;
when it was, of course, improvisation. These extempore works usually became written
down music. (See Bach's "Musical Offering")

So, we find Bach, Beethoven, Hummel, Abt Vogler (who made thunderstorms until the
milk turned sour for miles around!), Mozart, Chopin, Wesley, Guilmant, Bonnet, Widor,
Franck, and others fitting the composing faculty to service or recital needs.

In the early days of music we find improvisation a living thing. It has now become
almost a dead issue. We must once more make it alive.

After hearing Hummel improvise, von Weber wrote: "He used, with masterly control,
figures of all kinds in a supremely logical way in innumerable positions. One could not
be more pure and exact in a notated work than he was on this occasion?

Concert Improvisation opens up a wide field in which few caper brilliantly. It presup-
poses an extensive knowledge of, and intimate acquaintance with, all the homophonic and
polyphonic forms and usages. The Sonata and the Suite, the Canon and the Fugue must
be at ones' finger tips. In our progress so far, some of the homophonic forms have been
studied. Also the two-part Canon. It is now necessary to study Variations, the Choral
Prelude, the Three -Part Canon, Fugue and the homophonic forms of the Suite, Sonata
and Symphony. Also Special Scales.

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CHAPTER XX
VARIATIONS
As preliminary study play slowly Beethoven's Sonata, Op. 26, I and the very fine Variations
Serieuses of Mendelssohn. This latter work possesses the continuity demanded by the best of
this type.

Variations do not need to be the same length, nor the same key. Just keep some constant var-
iety of figure based upon contour: one figure to each variation.
Notice in Chopin's early variations on a theme "Je vends des scapulaires" by Ludovic,
l) the
following melodic variants, a very usable method for the improviser:

m p r

Var. I

Var.II

Var. IV

2) Invent continuations of the variations.

Theme of hymn is:

etc. [Have hymn on desk.]

continue ^through hymn.

Var. II a la gigue

continue

3) Improvise seven more melodic variants, using variations in L. H. as well as in R. H.

Note: It is important to develop melodic thought in the two hands equally at all times.

*This melody happens to contain the notes, used in our hymn.

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4) Improvise variations from these 'starts'.

Theme may be:

a) continue

Or:-

b) continue

Or, start in single notes, thus:

c) continue

Then, in chunks, staccato:

5) a) Put the above in two sharps;

b) >
five flats.

6) Here is a start with our theme, over a Beethoven idea from Op. 109:

continue

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See Mendelssohn's Sonata VI. Notice solid Chorale, the aeration of theme in the first variation,
?)
the fine moving bass in the second and the exquisite featheriness of the third. This is how the third
would sound:

etc.

i==i
Fed.r
8) Compare the effect of our theme harmonized in the following tonal schemes.

D D minor pure

Dorian (with B natural)

etc.

Whole Tone

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Pentatonic Scale

etc.

The above mode experience is very important in the growth of one's imagination.

9) The well be taken up now.

jBasso Ostinato may See Arensky's Basso Ostinato for Piano and
then use the usual theme as a basis, in this form:

^ I
'
Repeat over and over with
new figures above.

The Passacaglia is the highest type of composition based on variants. It is an extension of

10)
the Basso Ostinato. While the writer suggests that this be taken up only after Fugue is studied,
it properly belongs in this section as a type.
Examine Gustav Merkel's Passacaglia, for Organ, in B minor and the greatest of all such forms,
the Bach organ work in C minor. If possible, hear the orchestral treatment of this Passacaglia.
Note the figure development and register variety.

After which analysis, base improvisation upon this variant of the usual theme.

Slowly, with dignity

^
S

etc.

itra

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CHAPTER XXI
THE CHORAL PRELUDE
Keep in mind for the n^l1 time the constant importance to the improvising faculty of deriving
material from a few notes : the budding and blossoming method.

be of interest as well as importance to examine the following old examples taken from
It will

Martin Fischer's great work on the seventeenth century* (See Bibliography.)

l) Original form of the old melody.

2) Derivatives:

etc.

It will now be well to quote from Walter Rummel's piano adaptation of a Pachelbel (1635-1706)
Choral Prelude over Vom Himmel Hoch.
Take the figure he uses and place under it our omnipresent theme. The Pachelbel figure is not
'far off and is a- delight of a scheme.

etc.

Develop the figure first, as an exercise for 8 measures and then improvise with the usual
theme below.
Next, take up Bach's Orgel-Biichlein and the other Chorale Preludes, using two or three as
models for improvisation.
See Karg-Elert's works of this type. Also, there are a number of American works (Noble,
Me Kinley etc.) not so involved, but useful as an improvised type.

* Martin Fischer
says: "The significance of improvisation at this time cannot be too highly estimated? That is, it was part
and parcel of the thought and practice of the time and much written music is directly traceable to it.

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CHAPTEB XXII
THREE -PART CANON
The Three-part Canon requires extraordinary concentration and is useful for this purpose in the
highest degree. Even if the player never gets to the point where he thinks his canons are worth
listening to, at least he will increase stoutly in- attention, his basic need. For theoretical prelim-
inary study see Prout "Double Counterpoint and Canon'.'

Write out to 12 or 14 measures. Then, put aside written work and try to improvise 8 measures,
adagio assai!
Note: On alternate days, improvise two and three -part canons.

Canons in Three Voices

Etfif- r r

III

etc.

if

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CHAPTER XXIII
ESSENTIALS OF FUGUE
[For theoretical pursuit of Fugue, the short work by Higgs.]
In treating of the essentials of Fugue, I refer to those points of special difficulty to the im-
l)

proviser. Perhaps the only great problem is constructing the answer. Note first that there are two
different types, the tonal and the real.

Tonal is where the answer responds to the 'high-lights' of the subject, these high-lights being the

tonic and dominant notes used in that subject.

Subject in Bach's big E flat (tonal) Fugue is:

(Starts on Dominant, ends on Tonic.)

The answer is:

(Starts on T, ends on D.)

(It starts on T., ends on S.D,)

That would never do for a self-respecting Fugue!

Examine the following tonal fugues: Bach's big G minor Organ Fugue, C major (No. 1. Well-
Tempered Clavichord), C minor (No. 2. W. T. C.)
Next examine Bach's C major Fugue a real fugue.

Subject:
* 4
D

Answer:
J
D

Examine in W. T C. Book II Fugue No. 9 and the brilliant D major Organ Fugue.

2) The Countersubject is the counterpoint used first with the answer. It is very difficult to re-
member. But, the joyful thing about it is frequent use of a free C.S.
t

Examine the above Fugues and also the masterwork in E minor for Piano by Mendelssohn. The
last named has a free C.S. What have the others?
Note: The C.S. must be a contrast to subject material in rhythm and contour.

3) The whole Fugue is made out of and developed front Question, Answer and Counter- Subject.

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4) The general plan of the Fugue (for example, a Four -part Fugue) is:

a) EXPOSITION contains Subject- Answer- Subject -Answer.

b) INTERLUDE- Counter- Exposition -S-A-S -A in different
key
or (if desired) rearrangement.

c) STRETTO where subjects come close.

d) PEDAL POINT sometimes sketchy, sometimes omitted, but much

used in long cumulative climaxes.
e) CLOSE an ending of varying length.

5) Now, write out from Book II W. T. C. a number of subjects in this manner:

59) Write out answers to these and compare later with the Bach answers. I suggest studying the an-
swers to scores of Fugues before any building of the Fugue as a whole is attempted.

6) Take these same subjects and improvise answers to them. Some will be remembered, others not.
*
\

7)After this thorough study, write out your own counter- subjects to five of Bach's answers.Then,
compare with the Bach counter- subjects.

8) Study the stretto of Bach's Fugue No. 1, in Book I, W. T. C. and in Bach's big A minor Fugue
for Organ. Also the strettos of Fugues already suggested. Next, take a Bach subject and build
strettos and compare.

9) Write three subjects of your own. Build a brief Fugue upon each. [Examine Mendelssohn's
lovely, short Piano Fugue in D.]

10) Perhaps by now the student will be ready to first write a Fugue. Then, put it aside and im-

provise very, very slowly on an extension of our usual subject:

Fast [but improvise slowly at first!]

Subject: N j r r

Answer:
^
[The Codetta this subject does not need one is a short ending placed at end of answer to
get back to the subject 'neatly!]

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54

The Counter -Subject to answer:

[May be used exactly or approximately.]

C.-S.

Answer:

a) When used exactly, C.-S. is strict;

b) When used only in essence, C.-S. is free.

Stretto

etc.

[Pedal point] r
in augmentation

A great years ago Bernard Boeldemann published some Bach Fugues, using different colors
many
to represent the various essential parts. Any reference to these will
repay the trouble.

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CHAPTER XXIV
SUMMARY OF STRUCTURES
Musical architecture the great single essential of all great music. Structure, good or
is

bad, is shown in everything from the simple phrase to a cathedral-like Symphony. The
Concert improviser will, therefore, study the structure of all basic types.

1) Sketch Forms, as Chopin's Preludes;

A
AB
2) Song Forms
ABA with or without Coda, as MacDowell's Woodland Sketches?

3) Minuets and Scherzos

ABA-CDC-ABA and modifications as in Beethoven;

4) Marches- ABA or as Minuets;

5) Waltzes- as above- See Chopin;
6) Rondos;
ABACA
A BA C ADA
ABA development ABA
7) Sonata Form;
AB Cl T- Devt - A B Cl T
8) Canon (with free parts), see delightful F sharp Canon by Jadassohn in addition
to the Bach and Franck works;

9) Fugue- see under Fugue;

10) Fugue coupled with Theme- Rheinberger No. 8;

11) Fugue with Chorale ending- Mendelssohn Piano in E minor;

12) Basso Ostinato (see Arensky);

13) Passacaglia- Bach, of course!

14) Evolving forms, (see Page 37.)

ESSENTIALS OF SONATA FORM

First movement of a Sonata or Symphony usually has this form. It is a three part
scheme highly organized.
A is fully built theme.

B is contrasting, usually lyric.

Closing Theme is really an episode.

So far is called the Exposition. Development follows- any length- deriving from all

or any part of Exposition.

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At close Development Group is a return of Exposition with keys stressing the chief ton-
of the

ality. (This means that B and Closing Theme are transposed from some key other than Tonic (usu-

ally Dominant, or relative minor or major) over to Tonic.

The forms into which music casts itself are Homophonic primarily harmonic and Polyphon-
ic primarily contrapuntal. Polyphonic pieces seldom go over into homophonic. Homophonic pieces
may shift occasionally.

Themes may be anylength, but a solidity and completeness must rule. [See Op. 2, No. 3, I solid-
So solid that they balance two and one half pages of other matter.] Second
ity of first three lines.
themes are opposites of first themes. [See Moonlight Sonata, last movement.] The episode is a
sketchy theme. It hasn't quite grown up. It has less finish and poise and finality. [See episodes in
Op. 106.] Or, Op. 2, No. 3, I from fourth line. [Pauer's "Forms" (Novello), published long ago, gives a
fine birds- eye view of the older structures.]

The Sonata as a Whole

The first movement (in a four movement work) usually has Sonata-Form. [See Beethoven's Op.26
and Op. 27, No. 2, for an exception.] The second movement may be a slow movement in any form
desired. The third movement usually is a Scherzo. The fourth a Rondo. [See Beethoven's Rondos
in Op. 13, Op. 26, Op. 53 and Op. 57.]

The Rondo a good extemporising form with its chief theme coming back over and over again.
is

Theorists like to classify rondos into six or seven types. [See chapter on subject in Goetschius'work:
Models of the Principal Musical Forms, Schirmer.]

Suggested Start for First Movement

Maestoso

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 57

Subject for Slow Movement

With sonority

i * n

A etc.

[Slow movement might be made out of any other measure of hymn subject.]

Subject for Scherzo

Grotesquely

f
Subject for Rondo
Lively

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58

The Organ Symphony

is only a Sonata, perhaps on bigger scale, but not necessarily so.

Widor's Symphony V has five movements:

I Allegro vivace (a Theme with Variations)
II Allegro cantabile (very melodic, with fine motion)
III Andante quasi allegretto
IV Adagio (a Canon)
V Allegro (a Toccata)

The Widor Symphony should be studied from the standpoints of marvelous style, con-

trast, cumulative energy.

[See a) the writer's essays on the subject (Music, 1899-1900; The American Organist 1934)
b) Harvey Grace's work on the subject;
c) Albert Riemenschneider's notes.]

The Suite
This a favorite combination of pieces in almost any combinable forms, with
is less re-

sponsibility as a rule than the Symphony.

[For divisions or probable combinations, see chapter on Ways and Means in Public.]

Note- A thing has good form or musical shape when ideas are arranged
so that they have

a) clarity;
b) consecutiveness;
c) power of reaching a climax;
d) repose enough never to seem in a hurry;
e) a conclusion that finishes and does not simply stop;

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 59

believe the thematic index to Bach's Art

I
of Fugue, showing various transformations of the one
and only theme used by Bach in his last work, will give the improviser all he needs to know about
the process, the progress, the expansion and extension and infinite
varying that is possible for a
four - measure theme .

a 4 voci
I
Fuga XII a 4 voci
Fuga Un poco Allegro
Andante con moto

P
S S i r r i

Fuga II a 4 voci
Andante ma molto mosso Fuga XII (inversa)

u. J J

Fuga III a 4 voci

Fuga XIII a 3 voci
Andante
Allegro
f r

Fuga IV a 4 voci
Andante con moto Fuga XIII (inversa)
&i
V
a 4 Voci
Fuga XIV a 4. voci (Variante zu No. X)
Fuga Un poco Allegro
Andante con moto

m 3== EE

Fuga VI (in stile francese) a 4 voci Canone I (per augmentationem in motu contrario)
Andante sostenuto j Allegro con moto
'' b " f

Fuga VII a 4 voci Canone II (air ottava)

^
Andante sostenuto J. Allegro

Fuga VIII a 3 voci

Allegro moderate Canone III (alia decima)
Allegro assai

^$=
P '
S i M r r p r M
Canone IV duo decima)
Fuga IX a 4 voci (alia

Allegro molto Allegro assa^

Fuga X a 4 voci Fuga I per due Pianoforti

Allegro, ma molto moderato Allegro moderato

Fuga II per due Pianoforti (in altro modo)

Fuga XI a 4 voci Allegro moderato
Allegro moderate ^
i

Fuga XV a tre soggetti ed a 4 voci

Allegro moderate e maestoso

H-^
P
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30

CHAPTER XXV
SPECIAL SCALES

^
Pentatonic Scale

Whole tone Scale

i

B
* s
i^P
An artificial Scale

i ^
^
Here is a Scale used by some dancing Dervishes:-

D i i

[See Eaglefield Hull's "Modern Harmony" for further ideas and idioms.]

Exercises for Special Scales

1) Harmonize the hymn in quasi modal manner as if it were Lydian.

Harmonize the hymn (in F) omitting

2) Bl? and E in melody, substituting other notes, making
a 'sort of pentatonic effect.

3) Make whole tone scale from:-

Now play (in the hymn) all C's as C sharp, and D's as D sharp. This will give the whole tone
idea.

4) Take the artificial scale and very slowly harmonize it and make 8 measure phrase.

5) Harmonize each Gregorian Scale according to the strict Church Mode theory.
The mind are:
essentials to keep in

a) Each scale has its own special chief notes;

b) All Plagal scales end as their relative authentic ends- as to chord.

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 CHAPTER XXVI
ORGAN REGISTRATION

For some time keep on paper, in full sight, something like the ideas below. Try to se-
lect registration like the following to get the idea of color
changes clearly:

A- Foundation stops
B- Reeds
Cl Ep- Reeds and flutes
Dev.- Strings, reeds to Full Organ on
A- Full Organ (Crescendo Pedal)

B- Reeds and strings

Cl Ep- Reeds, strings and flutes
Coda- Full Organ (Sforzando Pedal)

II

A- Solo Clarinet

B- Soft flutes

A- Solo Clarinet with secondary voice on strings

III
Flutes chiefly

A- Alternate manuals, reeds and flutes mf

B- Solo Concert Flute

A- Alternating all departments of organ

Coda- Full Organ

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62

CHAPTER XXVII
WAYS AND MEANS IN PUBLIC

Invariably have two plans thought out upon which to improvise, to suit most any char-
acter of subjects submitted. For at least two months before the first public "show," impro-
vise with all kinds of themes kind and unkind friends will submit upon the two quite dif-
ferent blue-prints of four movements each. One always finds that hundreds of Sonatas
e. g. same general plan, so do not think that an unexpectedly strange mo-
are written on
tif will be strange enough to throw out one's engineering. On being given the themes look

over list of forms and styles. See in which order they should be used. Stand up all themes
to be used in a row on the desk. Copy in key you wish them. Then, "go to it" without any

hesitancy, knowing that not more than one in the audience could do it any better. Being
dull is the only vice, so make it have the rough go-aheadness which earlier has been re-
ferred to. The rough-hewn and rugged is a better starting point than the smooth and suave.

Here are "floor plans" to keep near you until selection of forms is made on recep-
tion of themes.

Suppose a Suite is what is most suitable, one has the choice of an endless array of
combinations.

Old Style Suite Any kind of a Suite

Prelude (on Gt.) Prelude (Sw.) a) Prelude
'

a) a)
b) Allemande (on Sw.) b) Choral (Ch.with b) Canzone
c) Courante (on Ch.) k
Choral on Gt.) c) Scherzo
d) Sarabande (Sw. Strings) c) Fugue (Gt. / to ffi) d) Adagio
e) Gigue (Full Organ) e) March
Two formulas (to use when inspiration pressure is low!)
,
Formula No. I (For Postlude - March)
(Always look for two motifs)
A Solid march movement based on whole melody noble in style -/- play on full swell
closed (with pedal)
B (jp) (16
1 1
&
derive from motif 2 or by inversion Whole Melody.
8 4')
-
Accompaniment staccato or dreamy.
C (/) on Gt (& Sw) theme as before, add heavy moving pedal.

Coda (SFZ Ped) (a) double pedal point or

(b) fugue ending over single pedal point (Maestoso)
Formula No. II (Chiefly for Prelude)
Select opening motif- 6 or 7 notes. Play in single notes low register and develop
contrapuntally two voices, three voices, etc. until higher register is reached.
Start yp on 16' & 8 Sw.
1

Develop cresc. j>oco a poco until Full Swell is reached. Then, use all of theme as
given and build up broadly, homophonically ad lib. until Full organ is reached (or dim. to
yp organ).
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 63
Sonata
I III
Allegro Adagio
II Minuet IV In Style of March
Note-.- For stirring Marches and Third Symphonies.
for Organ seeWidor's First

Symphony
I Allegro
IV Canon (slow or medium slow)
II Adagio
III Scherzo
V Toccata

How long does it take one to do all these things? Just as long as organ playing. If put on a
daily schedule as a part of the organ work, it will seem a very natural procedure.

-Many organists seem to think they should -just naturally do it. That is, without study. Such
are, of course, on an unfruitful track. To keep improvisation from becoming "imp over ishation" re-

quires continuous application. An organist who follows the subject faithfully will become a shin-
ing light.

It willbe of general interest to transcribe here a few of the themes given

during the past cent-
ury in the Prix de Rome contests in Paris. They are taken from "Sujets de fugue et themes d'im-
provisation donnes aux concours d'essai etc." compiled by Constant Victor Desire Pierre and pub-
lished by Heugel et Cie., Paris, 1900.

1807

tl P a
JLJLi H_gt
0. f

1853 ONSLOW
ftr?

1873 F. BAZIN

1827 CHERUBINI

A.THOMAS
1888

M.W. &Sons 19521-75

64

1825, 1835, 1840

-*
I >> p m
gir r LC
1826, 1838

1827, 1839

'
J
^r LJ r

H c r r r r
r \
r

1891 .
TH. DUBOIS

1837

1884 Janvier A. BAZILLE

1* 1*

r
1843 Juin HAYDN (Quatuor)

CHERUBINI

Andantino con moto

M.W. &Sons 19521-75

 65

APPENDIX
CHAPTER XXVIII
IMPROVISATION FOR CHILDREN
An Approach

The best approach to improvisation with the child already studying music is from the
"play" or fun side. It is for the purpose of stimulating inherently natural musical feel-

ing, the building of a love of music without attention to the finger practice elements en-

tering in the short daily time given to it.

Only a child specialist has the requisite knowledge and instinctive methods to dfeal
with this question. I am therefore indebted to Miss Mildred Weston (whose works for
children are known widely) for a modus operandi that 'will work'

I am
going to present the subject, briefly, first under headings that long have been
questions in many minds; and then in a "sample" lesson.

Age to begin

From the beginning of any study of music, no matter how young or old.

What the Subject is called

Making up pieces.

Length of Lesson
. About five minutes out of a half- hour.

Effect of "making up pieces" upon the practice of set music

Seems to be most salutary, when child takes any interest whatsoever in improvising.

Effect upon Memory

Decided help, as children are quick to recognise "home" chords, "going home" chords,
and certain things in set music that they have tried to do in "making up" music.

Effect of Improvisation upon so-called slow Pupils

Some of this type seem to respond better than the "smart" ones.
But, when there is no response, do not press the point of "making up" things, as it rubs in
on the child the fact that here is one more angle to music that he cannot grasp and so dis-
courages him.

M.W. & Sons 19521-75

 Something about alert Pupils

A pupil maybe bright in set music and give no response to creating it himself. When
he does respond, -he is usually delighted and wants to do it all the time. Some of this
type have no originality but like to keep on repeating effects they have discovered? while
some unpromising youngsters are quite experimental.

Matter of a Title
About half the time, titles are of good effect; usually a stimulant to the imagination.

But, it is well also to try

gay music
sad music
a dance
a song
rain music

Suggested Titles
Since great composers often use titles of all sorts as a medium of understandable con-
tact, surely the child is in the right when he wants to "compose" a

Sleep of my Baby
Dance of the Sandman
Sunshine

Elephant
Fierce Lion

Big Bass Drum

No theory, but lots of fun!

Ways to start
One way is suddenly to suggest:
1) lets make up a piece now about rain- or li-
ons- or drums. One chord strung out to four measures
might be first piece. [See model
lesson page 70.]

2) Another way is to start singing things; singing a half

phrase, having pupil sing
a little farther.

3) Then reverse it, pupil starting something and teacher finishing. Not difficult to
create interest when melody is in mould of child's experience.

Teacher clap rhythm; child finish. Reverse. Short

4)
phrases first, say two to four
measures. This can be extended little
by little so that teacher can make up theme A,
child theme B, and teacher repreat A. Form is thus suggested.

M.W. & Sons 19521-75

 67

A child's improvising is associated in the minds of most persons with a strumming

and banging that is a manifestation of physical energy only. Which fact provides the
creative -music enthusiast with an argument for the necessity of directing that energy.

There is a wide gulf between a young pupil's response a thoughtfully organized di-
to
rection and the much discussed sheer imitation that some critics deplore. This danger is

exaggerated beyond all proportion by the anti-improvisors who regard it as the opposing
menace to any possible good that may result from the practice.

As a matter of fact, when it comes to the point of a pupil aping his teacher, the adult
is ingreater peril than the child. Children are naturally insurgent and when they have
once acquired a measure of assurance they will fight for their own ideas as few adults
care to do.

It is not an unusual experience for a child who has improvised for a time to suggest
what seems to him better endings for certain pieces he is studying. One child objected
to Bach ending with a minor chord when the composition up to the last moment had
been consistently major. "But it's not a sad piece," he protested. Another child com -
plained of the form taken by one of his studies, his objection being that it "felt crooked."

If improvisation sharpens the musical perceptions of the child it has done a lot, but
it can do even more. Properly guided and sustained it can be a source of increasing
joy to him. Bearing in mind the fact that each teacher will, no doubt,have his own ideas
on the subject, this sample lesson is suggested only as one approach to improvising that
has been tried out with very young children and has proved popular with them. The
child of four if interested will respond just as quickly as his older brother. Not perhaps
with the same ingenuity but he may surprise you with his capacity

This type of lesson works hand in glove with the regular rhythm exercises and ear -
training that constitute part of the modern teacher's stock in trade. It can be adapted
to the individual pupil's need and can be elaborated upon for older children. As it is

presented it has been used with good effect with children up to ten years, as an intro-

duction to getting really acquainted with the keyboard.

Improvising, unlike five-finger exercises, is dependent upon the child's wish to do.
His desire must be preserved at any cost even if it means the further and further post-
ponement of any progress. Improvising should be regarded as the child's play - time in

music, to be enjoyed, not merely endured.

And now us start our play with the simple chord of C. As the child is introduced
let

to different scales he will take pleasure in transposing his improvisation to see in which

key he likes it best. Changing the register from the middle of the piano is usually
stimulating. But, for the beginning lessons, we will accustom the small hands to Middle

C and its environs. March rhythm has been used in this particular exercise because it

seems the rhythm to which most children respond quickly.

M.W. &Sons 19521-75

 The Lesson
The teacher says:- The child plays:-
R.H.

Let us take
The chord of C
And make a piece
For you and me.

Play it four times

In a row
Not too fast
Or not too slow.

The child sings and plays

A A A A

Play it now
Like tramping feet-
Soldiers marching
Down the street.

The child sings and plays / and

Play it loud.
Then softly play
As the soldiers
T
Play it loud etc.

March away.

The child plays answering rhythm

Hear the drum!

Turn -turn -turn
Hear the drum!
Turn- turn -turn.

After different variations of the above the teacher suggests that the child build a
piece using
the chord of C; to make it about the soldiers they have been
talking of and to be sure to remem-
ber the drum! The following are attempts resulting from such a
suggestion. They were contrib-
uted by children of five and six.

M.W. &Sons 19521-75

 69

Hear the sol - diets march -

ing

j j ,

Turn turn turn turn turn turn

Turn turn turn turn turn turn come come come.

And here is the suggestion carried further by an eight-year-old:-

Drum Q
Boom!

Other suggestions :-
Gal - - Gal -
^ Gal -
lop
-
ing- Gal -
lop
-
ing- lop ing- lop
-
ing.

a)

Rock - a Ba by On a tree top.

b)
^

M.W. &Sons 19521-75

 It will be of real help to teachers of the subject to refer them to some of Mildred Westonsown
usic as follows:-

Little Gray Dote, from Ten Fingers at the Zoo, (Schmidt) was improvised for the' class to show
;oing home" chord leading to/'home" chord. Gentle music.

Lady Moon, from The Sandman, was a tune piece. Melody played first, after which accompa-
was added.
inaent

Father Bear, (Goldilocks) showed class how tune can be made out of scale. Gruff music.

And, as a 'Coda' to this chapter what could be more "proofy"of the pudding than a child's im-
rovisation put into writing. At the time Rebecca Frances Love was in Miss Simonson's School, in
ittsburgh, under Miss Weston. Note the good 'phrase thought!

Santa Glaus is Merry

REBECCA FRANCES LOVE, VI

s b j. A * J
San - la Glaus is mer -
ry, Mer -
ry as can be.
A

P 2

^
'Round he danc - es, 'round he pranc- es, 'Round the Christ-mas tree. . Then he calls his rein- deer,
A

I llll i

Stamp-ing in the snow, 'Round he danc- es, 'round he pranc -es, Then I hear him go!

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 71

BIBLIOGRAPHY
Improvisation

Bach, Carl Philipp Emanuel. Versuch iiber die wahre Art das Klavier zu spielen,-
Leipzig, C. F. Kahnt Nachfolger, 1906.

Capps, Stanley M. The Capps system of improvising for piano. 1924 by Stanley M. Capps.

Czerny, Charles. L/art d'improviser. Paris, Maurice Schlesinger. [Includes a Potpourri .

of Bach- Handel -Gluck- Haydn- Mozart -Cherubini and Beethoven.]

Dupre, Marcel. Traite d'improvisation a 1'orgue. Paris, A. Leduc, 1925.

Fernand, Ernst. Die Improvisation in der Music. Rhein-Verlag, Zurich 1939.

Fischer, Martin. Die organistische Improvisation im 17. Jahrhundert.

Kassel, Barenreiter-Verlag, 1929.

Gretry, Andre Ernest Modeste. Methode simple pour apprendre a preluder en peu de
temps avec toutes les ressources de Tharmonie.
Paris, De Timprimerie de la Republique, an x 1802.

Home, Ethel. Improvising, a simple method of teaching the subject to children of average
ability. London, K. Paul, Trench, Trubner & Co., Ltd. 1922.

Kehrer, Jodoc. Die Kunst des Praludierens; systematische Anleitung zum freien Orgelspiel.

Regensburg und Rom, F. Pustet; New York und Cincinnati, F Pustet & 'Co.,
1916.

Kessel, Johann Christian Bertram. Unterricht im Generalbasse zum Gebrauche fur Lehrer
und Lernende. Leipzig, bei C. G. Hertel, 179J.

Kollman, August Friedrich Christophu An Introduction to the Art of Preluding and Ex-
temporising in Six Lessons, for the Harpsichord or Harp. London 1798.
Respectfully dedicated to Miss Crawford.

Macdougall, Hamilton Crawford. First lessons in extemporizing on the organ.

New York, G. Schirmer, Inc., 1922.

Neill, Jack. Neill improvising system. Chicago, The Neill Company, 1925. ,

Newman, Elizabeth. Improvisation: Elizabeth Newman's Own Book.

Pierre, Constant Victor Desire. Sujets de fugue et themes d'improvisation donnes aux con-
cours d'essai pour le grand prix de Rome. Paris, Heugel & Cie., 1900.

M.W, & Sons 19521-75

 Reed, Mrs, Clare (Osborne). Constructive harmony and improvisation.
Chicago, Clayton F. Summy Co., London, Eng., A. Weekes & Co. 1927.

Richardson, Alfred Madeley, Extempore playing. New York, G. Schirmer, Inc. 1922;

Rinck, C. Ecole pratique de la modulation demontree par des examples, a deux,trois

et quartre parties. Mayence (etc.), chez les fils de B. Schott.
*
^^
Sawyer, Frank Joseph. Extemporization. London & New York, Novell o, Ewer & Co.

Schlieder, Frederick William. Lyric composition through improvisation.

Boston, New York, C. C. Birchard & Company 1927.

Schonf elder, Emanuel. Praludierschule, oder Theoretisch-praktische Anleitung, nach

eigener Fantasie regelrecht zu spielen.
Breslau, Im Selbstverlage des Verfassers, 1845.

Schwing, Henry. A practical guide in improvisation and modulation.

Baltimore, Md. and Washington, D.C, Sanders & Stayman Co., 1902.

Sekles, Bernhard. Musikalische Geduldspiele, Elementarschule der Improvisation.

Mainz, New York (etc.), B. Schotfs Sohne, 1931.

Sorge, Georg Andreas. Anleitung zur Fantasie, oder zu der schonen Kunst, das Clavier
aus dem Kopfe zu spielen. Lobenstein, Im Verlag des Verfassers, 1767.

Stubington, Huskisson. Practical Extemporisation. Epworth Press, London.

Tournmire, Charles. Precis d'execution de registration et d'improvisation a

1'orgue. Editions Max Eschig, 1936,

Vierling, Johann Gottfried. Versuch einer Anleitung zum Praludiren fur Ungeiibtere.
Leipzig,# Breitkopf & Hartel, 1794.

Virgil, Mrs. A. Practical exercises in theory and harmony playing leading to improvi-
sation and composition. New York, Virgil Piano School Co., 1928.

Wedge, George Anson. Keyboard harmony. New York, G. Schirmer, Inc., 1924.

Wehle, Gerhard R Die Kunst der Improvisation. Minister i.W, E. Bisping, 1925.

For bibliography on Gregorian Music, see page 44 .

,W. & Sons 19521-75

 INDEX

CHAPTER PART ONE: THE CHURCH ORGANIST

I General Basic Principles 1

II Preliminary Studies for a given Theme 3

III The Phrase 6
IV The Coda 9
V Time Marks 10
VI Modulation 11
VII The Play Element 17
VIII Transposition 18
IX Free Imitation 19
'

X Two-Part Canon . . . . 22
XI Factors in getting Variety 24
XII Embellishments 25
XIII Improvisation in Accompanying 26
XIV Works to Analyze 27
XV Homophonic Improvisation and Fun 30
XVI Planned Thought 36
XVII The Organist and the Church Service 38
XVIII Gregorian Music . . .' -. . 39

PART TWO: CONCERT IMPROVISATION

XIX Concert Improvisation 45
XX Variations
'

'. . 46

XXI The Choral Prelude 50

XXII Three-Part Canon 51

XXIII Essentials of Fugue 52

XXIV of Structures 55
Summary
XXV 60
Special Scales
XXVI 61
Organ Registration
XXVII 62
Ways and Means in Public

APPENDIX
XXVIII Improvisation for Children 65
71
Bibliography

M.W. & Sons 19521-75

 THIRTY TRIOS
Sight Reading Exercises in All Keys

For the Organ

By
HAROLD HEEREMANS, F.A.G.O, F.C.T.L

The art of organ playing comprises many individual, though coordinated technics, the most
important of which is the ability to perform with freedom and ease, music which is contrapuntal. Not
only the literature for the organ, past and present demands this prerequisite, but the very nature of the
instrument, with its large and complex tonal resources, presupposes a form of musical expression
which
embodies the principles of independently moving voices or parts.

Candidates for examinations in organ playing are invariably confronted with the necessity of read-
ing at sight a short Trio, or work involving a complete independence of right hand, left hand and pedals,
yet requiring a coordination of aural, motor and auditory senses.

The composerof these Thirty Trios, many of which are used in organ examinations, designates
them Reading Exercises in all Keys, and as such, they are invaluable to any organist, candidate
as Sight
for examination or otherwise. Aside from their undisputed worth as a technical vehicle, these Trios
constitute a real achievement in contrapuntal writing, as each embodies a style, rhythmic scheme, color
and purpose of its own.
PRICE $1.75 IN U.S. A,*

JVL WITMARK SONS, RCA Building, Rockefeller Center, New York

SCORE READING
Compiled and Edited by

MARTIN BERNSTEIN
not the purpose of this manual to train musicians to perform complicated modern scores at the
It is

piano. It rather a guide designed for the beginning student who must acquire not only a theoretical
is

knowledge of orchestral notation, but also sufficient practical experience to transpose immediately any
given part to its actual pitch. While many musicians can do this mentally, performance of the score at
the piano constitutes the only satisfactory test.

The examples have been chosen so as to allow a systematic presentation of the various elements of
score-reading; the reading of several parts, the reading of the C clefs, and of the various transposing
instruments. Scores presenting pianistic difficulties have been avoided inasmuch as this manual deals
only
with fundamentals. The excerpts will, in most cases, demand the actual reading of every part since
examples
containing doublings of transposing instruments by non-transposing ones (e.g. the B-flat clarinet by the
oboe) have been avoided as far as possible.

As the ability to read the various musical terms and their customary abbreviations in foreign
languages is extremely important in score-reading, the excerpts are given as
precisely in
printed
a conductor's score. A list of the most frequently used terms, with their English
equivalents, is given.

$3.00
(Revised Edition)

M. WITMARK SONS, RCA Building, Rockefeller Center, New York